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About phill

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    pottery, friends, cooking, baking, singing, relaxing

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  1. Anyone understand how to get such a fuzzy trim mark? Fuzzy isn't the best work, but it looks like the clay is torn rather than trimmed. Is it because there is a lot of sand in the clay? Or because the clay is really short? Or another reason? This photo is a cup made by Bandana Pottery and found on instagram.
  2. haha sorry, I guess I mean what are you thinking for prices? Why not tell us and ask if we think you are on to something? We'll give you direct feedback if you ask.
  3. @rayaldridge: I was browsing Etsy a few weeks ago and saw your pipes. I didn't know you were on these forums! Anyway, I really loved them. I don't smoke pipes (I'm assuming those pipes are tobacco pipes? I don't know what a carburetor is nor a water pipe.) but they were very beautiful and made me want to start smoking pipes. Nice work sir!
  4. I hope all critique continues on in the Monkey Farter technique. Perchance one might gracefully critique my own ceramic vessels in this way, shedding light on the darkened bowels of my drinking vessels.
  5. If anyone here lives in Boston, go to the Pucker gallery and ask to pick up some Shoji Hamada pieces. (Come to think of it, pick up everyone's work there, even the $80,000 brother thomas pieces...oooo ahhhhh. its quite an experience!) If you can't get there, I'll explain. Mr. Hamada's work is heavy. They are doorstoppers. I picked up one of his biggest pieces, a wide shallow bowl/platter that was probably 18" across, and I expected it to be heavy. It was far heavier than I even expected it to be. All his works were hefty. This was eye-opening to me, as I came from a university setting where thinner=better. I throw thicker when I'm mindlessly throwing, so I tend to have heavier pots somewhat naturally. Now, I really love this quality about my work instead of hating it when I was in college. It's okay to have thin pots, nothing wrong with that. And it's okay to have thick pots too. If you are a functional potter, consider these things a lot. You make work for people to use every day. This means that if you make very thin functional work, make sure you have reasons and promote those reasons to your customers, so they can understand why you do it this way vs. making heavy pots. A heavier pot naturally evokes a sense of strength and durability, so you are fighting instinct and first impressions and natural assumptions. for example, maybe you want your work to evoke a sense of preciousness when drinking your favorite wine. Or the delicateness is flower-like and reminds you of those early morning walks through wooded trails.
  6. I agree with Judith B. Sand that sucker till it's smooth. If the glaze ring is going to slow you way down, or aesthetically ruin the piece, then don't do it. Sanding works just fine. Look at Japan, they drink from raku stuff. They drink from unglazed pieces all the time. They are drinking hot beverages that way too, so leaching would more likely occur than a cold beverage. Just don't freak your customers out by telling them information they don't need to hear.
  7. For me the thing that ends up taking the most time if I'm not careful is making decisions, and it's generally decisions about how I should make each piece that take the longest. I never used to care I enjoy this process, like sketching on the wheel. But it can bite out big chunks of your time if you're not careful. I also used to be single. Now I'm married with a kid and full-time job. I'm lucky to get into the studio for a few hours every week. But when I get in there, it's go time. To help speed up the decision-making time, I focus on one item, and one form I really like for that item. For example, if I am making mugs, I will make a very similar mug 10 times over doing the same decoration or something very similar. It's basically batching my work. I used to make all different forms and decorations, like I had to have 10 completely different mugs. Now I am sane and have started to really appreciate more nuance and subtlety as I mature with my ceramic eye and taste. For those who like lists, here are some pros for this way of working: 1. You get to refine your favorite forms 2. When you sell your favorite you have X amount more to sell that are very similar and qualify for almost your favorite 3. You can experiment better with glazing. What if I did this to the pot instead? What about finger swipes? You get the picture. 4. You can throw faster with the decisions already mostly made ahead of time. I'm sure there are more but it's time to play a game with the wifey.
  8. I used what I had, cotton string. It worked fine, and is still working, but it is starting to rot away slowly. Time for new string! The good news? It lasted me at least 4 years. Glad you got something that is better than cotton, but even cotton works. I have one of those nylon cutters and they are terrible for cutting the pots off the bottom, but I'm glad you said this as now I can reuse my old cutter tool! Thanks!
  9. I frequent schaller gallery because the setup is great for quickly looking at pots and consuming them, and they keep their show archives available.
  10. Don't put anything on the bottoms of the pots. I use a gritty stoneware and right out of the firing the pots are super rough. But just a minute with a 60-80 grit sandpaper, hand sanding it real quick knocks the rough parts off immediately and you can get even the grittiest bottom baby butt smooth.
  11. I had this same problem. I cut one up before realizing what it was. Just thought it was accidentally melted onto itself. Oops! Over the years different ideas have come to mind, but one that sticks out is using skateboard truck bushings as a replacement. They are made of polyurethane and have different hardnesses and probably sizes too.
  12. @JBaymore: What do you mean exactly when you say "when you are in Japan"? Can you elaborate?
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